Course Outline-Introduction to Schenkerian Analysis (MUTH 4370) Fall 1998

Course Outline-Introduction to Schenkerian Analysis (MUTH 4370) Fall 2015

Information for Students

Dr. Timothy L. Jackson (Distinguished University Research Professor of Music Theory, Main Music Building, Room 111, tel. (940) 565-3748 (wk) (972). E-mail: [email protected]; [email protected]

Class meets MWF 11:00-11:50 Room 293 (45 regular classes)

Purpose: The course has three primary aims: 1) to teach the student how to do Schenkerian analysis, 2) to familiarize the student with Schenker's works, commentaries on his works, and recent work in the field of Schenkerian analysis, and 3) to re-examine music history in light of Schenkerian theory.

The following texts are recommended and available through Google Dive:

Jonas, Oswald. Einführung in die Lehre Heinrich Schenkers. Das Wesen des musikalischen Kunstwerkes. Vienna: Universal Edition, 2. Auflage, 1972. Introduction to the Theory of Heinrich Schenker. Trans. John Rothgeb. New York: Longman, 1982.

Salzer, Felix. Sinn und Wesen der abendländischen Mehrstimmigkeit. Vienna: Saturn Verlag, 1935. Unfortunately untranslated. The instructor has a copy for the interested student.

Schenker, Heinrich. Der freie Satz. Neue musikalische Theorien und Phantasien. Vienna: Universal Edition, 1935. Free Composition. Ed. and trans. Ernst Oster, New York: Longman, 1979.

--. Fünf Urlinie-Tafeln. Vienna: Universal Edition, 1932. Five Graphic Music Analyses. New York: Dover, 1969.

The complete Oster Collection is available on microfilm in the library.

Additionally, the library has acquired the Reinhard Oppel Memorial Collection. It is now catalogued. SCANNED ARCHIVES:

 Reinhard Oppel Memorial Collection  Saul Novack Electronic Archive  Hans Weisse Electronic Archive  Allen Forte Electronic Archive  Edward Laufer Electronic Archive

The following books are useful references:

Beach, David (ed.). Aspects of Schenkerian Theory. New Haven: Yale University Press, 1983.

--. Advanced Schenkerian Analysis. Routledge, 2012.

Cadwallader, Allen (ed.). Trends in Schenkerian Research. New York: Schirmer Books, 1990.

Cadwallader, Allen and David Gagne. Analysis of Tonal Music. A Schenkerian Approach. New York: Oxford University Press, 1998.

Forte, Allen. Introduction to Schenkerian Analysis. New York: Norton, 1982.

Rothstein, William. Phrase Rhythm in Tonal Music. New York: Schirmer Books, 1989.

1 Salzer, Felix. Structural Hearing. Tonal Coherence in Music. New York: Charles Boni, 1952.

Salzer, Felix (ed.). The Music Forum, vols. 1-6. New York: Columbia University Press, 1967.

Schenker, Heinrich. Das Meisterwerk in der Musik. Jahrbuch I, 1925; Jahrbuch II, 1926; Jahrbuch III, 1930. Munich: Drei Masken Verlag. Thirteen Essays from the Three Yearbooks "Das Meisterwerk in Die Musik," trans. Sylvan Kalib. Northwestern University, Ph.D. 1973.

For better translations of the Meisterwerk essays, see:

The Masterwork in Music: A Yearbook, Vol I (1925). Ed. William Drabkin, trans. Ian Bent, William Drabkin, Richard Kramer, John Rothgeb, and Hedi Siegel. Cambridge: Cambridge University Press, 1994.

Vol. II (1926). Ed. William Drabkin, trans. Ian Bent, William Drabkin, John Rothgeb and Hedi Siegel. Cambridge: Cambridge University Press, 1996.

Siegel, Hedi (ed.). Schenker Studies. Cambridge: Cambridge University Press, 1990.

-. Schenker Studies 2. Cambridge: Cambridge University Press, 1999.

Yeston, Maury (ed.). Readings in Schenker Analysis and Other Approaches. New Haven: Yale University Press, 1977.

For detailed bibliographies of recent Schenkerian research, see David Beach, "A Schenkerian Bibliography," in Readings in Schenker Analysis and Other Approaches, ed. Yeston, New Haven: Yale University Press, 1977, 275-302; "The Current State of Schenkerian Research," Acta Musicologica 57 (1985), 275-307; "Schenkerian Theory," Music Theory Spectrum 11/1 (1989), 3-14.

Description of Coursework:

The Analytical Assignments: Each week, the class will analyze a number of compositions. The student may be asked to begin, continue, or complete Schenkerian graphs of assigned pieces. Every student is expected to attempt a graph, which may be handed in. Individual students will be asked to put their graph on the board for discussion. At the end of the semester the student will be required to submit a portfolio of work, which will include the later weekly assignments.

Final Analysis Project: Each student will prepare a Schenkerian analysis of a piece. A short paper (no more than 5 pages) explaining the graphs will be submitted along with the graphs..

The Paper: "An Analysis of An Unpublished Analytical Graph by Heinrich Schenker." The specific piece will be determined as the course unfolds. The paper (c. 5 pages plus musical examples and bibliography) discusses Schenker's unpublished analytical graph of a work by Bach, Beethoven, Chopin, or Brahms. The unpublished graph, which will be one of Schenker's more worked out analyses, is carefully explained. The student also attempts to place the unpublished graph historically in Schenker's development on the basis of analytical terms and symbols used.

In-class Discussion: the class will read articles or sections of books (some listed above) and students will be asked to report on and discuss these materials. A sample of the articles to be discussed:

Timothy L. Jackson, "Current Issues in Schenkerian Analysis," The Musical Quarterly 76/2 (1992), 243- 63.

2 --. "The Tragic Reversed Recapitulation in the German Classical Tradition," Journal of Music Theory 40.1 (1996), pp. 23-72.

William Pastille, "The Development of the Ursatz in Schenker's Published Works," in Cadwallader, Trends in Schenkerian Research, 71-86.

Nicholas Cook, "Schenker's Theory of Music as Ethics," The Journal of Musicology 7/4 (1989).

Carl Schachter, "Motive and Text in Four Schubert Songs," in Beach, Aspects of Schenkerian Theory, 61- 76.

Patrick McCreless, "Schenker and Chromatic Tonicization: A Reappraisal," in Siegel, Schenker Studies, 125-44.

Edward C. Laufer, "Brahms 'Wie Melodien zieht es mir,'" in Yeston, Readings in Schenkerian Analysis, 254-74.

Jack Adrian, "The Function of the Apparent Tonic at the Beginning of Development Sections," Intégral, 1992.

The take-home Examination: A Schenkerian graphic analysis of a composition done entirely by the student. The piece will be assigned in the last two weeks of classes.

Portfolio of Work Presented at the End of the Semester and Breakdown of Final Grade:

1) Paper on graph, either original or by Schenker, or a combination of the two/ 30% 2) Class participation/ 20% 3) Attempted graphs of pieces analyzed in the course/30% 4) Take-home exam/20%

General Marking policy:

To receive credit, all written assignments must be submitted in the class in which they are due.

Attendance is expected at all classes. The student may arrange, preferably in advance, to hand in work late or to miss a class. Four unexplained missed classes could result in a failing grade.